Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Bosnia Herzegovina and from Paris.
But I was there.
I was there in 1977.
I was there at the first Mistral show in Amsterdam.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1966 to 1975.
I'm losing my edge.
To all the kids in Jakarta and Mexico City.
I'm losing my edge to the art-school Edmonton kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1962 at the first Guess Who practice in a loft in Winnipeg.
I was working on the 808 sounds with much patience.
I was there when Michael McDonald started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Gil Scott Heron to the jazz kids.
I played it at the Hacienda.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Anthony Braxton. All the underground hits.
All Patti Smith tracks. I heard you have a vinyl of every Yusef Lateef record on German import.
I heard that you have a white label of every seminal grime hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '80s.
I hear you're buying an organ and an arpeggiator and are throwing your macbook out the window because you want to make something real. You want to make a Marshall Jefferson record.
I hear that you and your band have sold your arpeggiator and bought a chamberlin.
I hear that you and your band have sold your chamberlin and bought an arpeggiator.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Barracudas,
The Blues Magoos,
The Count Five,
The Alarm Clocks,
New Age Steppers,
Shuggie Otis,
Steve Hackett,
Buzzcocks,
Eric Dolphy,
Deepchord,
The Searchers,
the Fania All-Stars,
Half Japanese,
Soul Sonic Force,
Blake Baxter,
Liaisons Dangereuses,
FM Einheit,
Skriet,
Judy Mowatt,
Dr. Dre and Snoop Doggy Dog,
Eve St. Jones,
Wolf Eyes,
Mission of Burma,
Soft Cell,
Gang Gang Dance,
Moss Icon,
Ralphi Rosario,
Agitation Free,
The Sound,
Fat Boys,
Lafayette Afro Rock Band,
Harry Pussy,
Super Lover Cee & Casanova Rud,
Eurythmics,
The Toasters,
Barbara Tucker,
Nick Cave & The Bad Seeds,
Tropical Tobacco,
Cabaret Voltaire,
JFA,
The Fall,
Gichy Dan,
Bobby Womack,
Bronski Beat,
Kevin Saunderson,
The Jesus and Mary Chain,
Grandmaster Flash and the Furious Five,
Sun Ra,
R.M.O.,
Rufus Thomas,
Organ,
The Divine Comedy,
DJ Style,
Hasil Adkins,
Bobby Hutcherson,
the Association,
Essential Logic,
Joe Finger,
Johnny Osbourne,
Aswad,
Morten Harket,
Siglo XX, Siglo XX, Siglo XX, Siglo XX.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.